What is the Tomatometer®?

The Tomatometer score — based on the opinions of hundreds of film and television critics — is a trusted measurement of critical recommendation for millions of fans. It represents the percentage of professional critic reviews that are positive for a given film or television show.

From the Critics

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Fresh

The Tomatometer is 60% or higher.

Rotten

The Tomatometer is below 60%.

Certified Fresh

Movies and TV shows are Certified Fresh with a steady Tomatometer of 75% or
higher after a set amount of reviews (80 for wide-release movies, 40 for
limited-release movies, 20 for TV shows), including 5 reviews from Top Critics.

The collective swell of a thousand nagging disappointments, both identifiable and not, make Perry's film strangely haunting despite the bourgeois mundanity of its events.&dash; New York Magazine/Vulture - EDIT

Sorry to Bother You is a house party of a movie, some rooms more lively than others, some you wish you could spend more time in, some downright unforgettable in the best way.&dash; New York Magazine/Vulture - EDIT

As a story of a woman who eventually asserts her creative independence and fights for the artistic credit she deserves, Colette is more satisfying intellectually than sensually.&dash; New York Magazine/Vulture - EDIT

Lisa's drive is more than biological; it's intellectual and emotional, and that's what keeps what often risks becoming camp madness in an identifiably human place - almost all the way to the end.&dash; New York Magazine/Vulture - EDIT

Burnham has tapped into a byproduct of social-media-saturated adolescence that's often overlooked in favor of parental panic and worst-case-scenario horror stories.&dash; New York Magazine/Vulture - EDIT

This is the sort of action film where the bad guys often hold their fire for no discernible reason, and are terrible at dodging things, but if one suspends one's disbelief long enough, they're rewarded with a rollicking, highly competent popcorn movie.&dash; New York Magazine/Vulture - EDIT

And I'll admit that by that point, despite whatever creaks and lags had preceded it, I felt a compulsive urge to see it through and follow Mary and her little barking broomstick wherever they went.&dash; New York Magazine/Vulture - EDIT

As with the first film, Paddington 2 never feels like it's speaking above the level of it intended primary audience, and thus the performances by the adult actors feel less like larks and more like tremendous acts of generosity.&dash; New York Magazine/Vulture - EDIT

The fourth installment of Leigh Whannell's ghost-and-mediums horror series wraps up its own free-association illogic with an impenetrable tangle of woo-woo spirit-world mechanics and lingo.&dash; New York Magazine/Vulture - EDIT

Dungeons and Dragons-style fantasy, with its species-specific stats and attributes, is a pretty suspect well to draw from if you're trying to pull off some kind of modern-day race relations metaphor.&dash; New York Magazine/Vulture - EDIT

But it also ends with a sentimentality I didn't buy - the Bellas don't seem to particularly care about each other outside of a competitive setting, so why should we?&dash; New York Magazine/Vulture - EDIT

Crooked House knows what its job is: to set up a tangled web of colorful characters, throw in a few red herrings, set off its dynamite, and make its exit while the smoke is still in the air.&dash; New York Magazine/Vulture - EDIT

In Brimstone, it's a manic, freewheeling moment, empowering to the young person holding the flames and foreshadowing the impossibly precarious explosions to come.&dash; New York Magazine/Vulture - EDIT

Coco is as indebted to Ratatouille as it is to Studio Ghibli's Spirited Away, but the combination of sensibilities and the colorful, semi-spooky milieu of the afterlife realm where most of the film is set is not at all unwelcome.&dash; New York Magazine/Vulture - EDIT

When she finally achieves the small recompense she seeks, it's a visceral relief. I just wish Vega and Lelio let us in a little more to see her as an individual, aside from the hostility she encounters.&dash; New York Magazine/Vulture - EDIT

This is a toxic, not at all benign film made for the enjoyment of everyone still oblivious to the fact that this kind of worldview is crashing down in flames even as we speak.&dash; New York Magazine/Vulture - EDIT

There's not much here to surprise or stir, and if it were a documentary it would likely be accused of not going far enough with its subject. But it doesn't do too much to justify itself as a narrative film, either ...&dash; New York Magazine/Vulture - EDIT

Only the Brave feels like a film that would have made sense coming from Peter Berg or Michael Bay, but Kosinski mostly pulls back on the macho cheerleading to find something more objective, and ultimately, deeply emotional.&dash; New York Magazine/Vulture - EDIT

Ai [Weiwei] clearly wants to take a macro view of an impossible problem, to find some clarity in abstraction. But whenever he just talks to the refugees face to face, we learn more than any drone shot could tell us.&dash; New York Magazine/Vulture - EDIT

[Kevin] Phillips kind of stumbles when he tries for a pat wrap-up of a still-horrific problem. But when he digs into the muck of the rot at the heart of it, he comes up with some unforgettable moments.&dash; New York Magazine/Vulture - EDIT

It's the grubbiest, greasiest vision of bad boys gettin' away with it in recent memory, a glass of sour milk specifically timed to curdle just at the moment you think it might be harmless.&dash; New York Magazine/Vulture - EDIT

There are a lot of half-complete ideas among the sisters' jumble of imagery, but trying to tie them together is a fitfully enjoyable, if ultimately fruitless experience.&dash; New York Magazine/Vulture - EDIT